Avatar: Fire And Ash | Featurette: Behind The Camera 3D - video Dailymotion

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Grieving Neteyam's loss, Jake's family faces the hostile Ash People and their leader Varang amid escalating conflict on Pandora.  #CinemaOnline  ---------------- Visit https://www.cinema.com.my Now showing in Malaysian cinemas: https://bit.ly/4nqzVYZ Movies coming soon: https://bit.ly/4n3vyU6 ---------------- Follow us on:  Dailymotion - https://www.dailymotion.com/CinemaOnline Facebook - https://www.facebook.com/cinemaonline Instagram - https://www.instagram.com/cinemaonlinemy/ TikTok - https://www.tiktok.com/@cinemaonlinemalaysia Telegram -  https://t.me/cinemaonlinemy

Transcript

00:00Avatar movies are made using 3D computing tools to create a 3D presentation.

00:06Our eyes don't see 3D, each one sees a 2D image.

00:09They go into the brain, into the visual cortex, and that's where it gets turned in our minds into a stereoscopic view of the world.

00:18So, shooting what we call stereoscopic 3D, that can apply to live-action photography and it can apply to CG rendered scenes.

00:28In live-action, I need to shoot, not with one camera, but with two cameras.

00:32Kind of like human vision, two cameras side by side.

00:35The only problem with that is that the distance between the lenses, it has to move dynamically.

00:40If I'm coming in very, very close to an actor, I have to get the cameras closer together than they can physically go.

00:47They gotta go to here, sometimes.

00:49How are you gonna do that?

00:51Well, you're shooting a beam splitter.

00:53One camera's looking through the beam splitter, the other camera's looking down.

00:56It's like a two-way mirror.

00:58And those cameras will move like this during the shot.

01:01If I'm tracking in on an actor from 20 feet back, those cameras will be here and they'll go to there.

01:06And it's all motion controlled.

01:08So we had to work all that out.

01:09In the year 2000, I just bolted two cameras side by side.

01:13Then we started working more and more with beam splitters and then the rigs got big.

01:17And then we started to find very small cameras and smaller lenses that would have high quality.

01:22And we figured out the servo systems, essentially the robotics, that allowed these cameras to move and breathe.

01:28Also, as you move in, the cameras toe in, just like human eyes.

01:32If you ever watch somebody take a pencil and try to focus on it with both eyes, they'll go cross-eyed.

01:37Watch, they'll go cross-eyed for you right now.

01:39Okay?

01:40That's called toe in or convergence.

01:42So we have to do what the eyes do and we have to do what the brain does to put 3D up on a screen and make it viewable for people.

01:51So, as we speak of it today, my team and I have had 25 years of experience doing this.

01:57We know the technology.

01:58We know the guidelines.

01:59We know what makes beautiful 3D.

02:01I think that's one of the things that sets an Avatar movie or any Lightstorm movie that I'm involved with apart.

02:07Is 3D that's simultaneously not trying to be a 3D movie every second and poke you in the eye.

02:14It's just there.

02:15It draws you in.

02:16It wraps around you.

02:18It makes you feel like you're physically present, much more so than a flat 2D movie.

02:23And at the same time, we want to make it comfortable.

02:27So it's a question of finding the sweet spot.

02:29I want to find that sweet spot where it's there and you see that it's in 3D and it's impacting you, usually at a subconscious level.

02:37But it's not a gimmick.

02:38It's not coming at you.

02:39It's not throwing stuff at you all the time.

02:42Maybe once in a while we'll throw something at you, but not that often.

02:45And so it's an art form.

02:47It's a technical procedure and it's an art form.

02:51You know, we have to think of it like a score.

02:54Sometimes we want to be loud.

02:55Sometimes we want to be quiet.

02:56You know, it's like the sound design of the movie.

02:58There's also the spatial design of the movie.

03:01And that's very important to us as artists.

03:04I don't think anybody goes to a movie because it's in 3D these days.

03:08I think you associate 3D with a certain type of filmmaking, a certain type of world building that you want to go and see on the big screen.

03:16And the 3D is just part of it.

03:18It's like the color.

03:19It's like the lighting.

03:20It's like the scope and scale of the world.

03:23And they all support each other like the parts of an orchestra.

03:29And so, you know, I could talk about 3D for hours, but that's sort of my approach and my philosophy.

03:37I can't wait to share more of Avatar, Fire and Ash with all of you when it comes to cinemas this December.

03:44It's it's...

03:45Fire.

03:46Throw it.

03:47Base.

03:49Fire.

03:50Combine it.

03:51Combine it!

03:52Add, go ahead.

03:53б

Avatar: Fire And Ash | Featurette: Behind The Camera 3D

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